Saturday, 28 June 2008

Room was an obscure British group who released a promising debut-album, and then disappeared into oblivion. They played a quite rough, unpolished and guitar-dominated style of early 70's progressive rock mainly influenced by jazz and blues, but they also gave the music a symphonic side by using lots of strings and brass. They were fronted by a female-singer, and her voice fitted well into their often melo-dramatic and complex songs. The title-track and the instrumental "Cemetery Junction" are both solid progressive rock tracks in several sections, and reveals a tight and technical very competent band. "Andromeda" shows the band from their most dramatic and grandiose side, while the more blues-inflected tracks "Where Did I Go Wrong" and "Big John Blues" are more modest and basic. The quiet parts of "No Warmth in My Life" tend to remind me of Affinity, and that's not a bad thing at all. "Pre-Flight" is an album with lots of qualities, and should be well worth checking out. (http://www.wsr.org.uk/room/comment.htm)

While performing folk songs in the Basket Houses of New York's Greenwich Village, trained guitar player and organist Jerry Moore was discovered by musician Randy Burns and signed to the cult "ESP" label. During the recording sessions of 1967's Life Is A Constant Journey Home, Moore brought aspects of folk, gospel, and r&b to a set of his own original songs, backed by musicians Eric Gale (guitar), Ralph MacDonald (percussion), and Warren Smith (percussion). Life Is A Constant Journey Home also featured Detroit poet Dudley Randall's "Ballad of Birmingham," which captures the KKK's devastating bombing of the 16th Street Baptist Church in Birmingham, Alabama. The transition of Jerry Moore from relatively unknown Greenwich Village entertainer to recorded musician and voice for social change was short-lived, as Moore became a street preacher before virtually disappearing into anonymity.

Track listing :

1. Ballad Of Birmingham (4:21)2. Winds Of Change (4:30)3. Let Go, Reach Out (2:50)4. Life Is A Constant Journey Home (4:27)5. Drugged (6:27)6. Anti Bellum Sermon (5:07)7. This Is My Time (2:56)

An amazingly soulful set of jazzy folk tunes from the late 60s -- the only album we've ever seen from singer Jerry Moore, and a real rarity from the ESP label! Moore's got a style that's somewhere between Terry Callier and Tim Buckley -- earthy and acoustic one minute, but stepping out with some hipper rock-influenced touches the next -- in a style that makes the album way more than just a conventional folk set.

His second album from 1965 ! Phillips' second album sounded as if it could have been recorded at the same session for his debut, which was also a solo acoustic guitar folk production. Perhaps the material and delivery here are a shade gutsier, but it's still very much in the straight-ahead folk troubadour vein, emphasizing a broad scope of covers and an occasional original tune.

Reissued on CD by Wounded Bird Records in 1999 (Mono recordings). Due to the loss of the master tapes, this album has been mastered from vinyl.

FIRST IMPRESSIONS --- In the beginning is the Voice ... the power and the passion of Shawn Phillips ... and the guitar stylist ... warm accoustic simplicity with roots in Texas ... and the mature sensitivity of the born folksinger, sidelined in Beatlemaniac England ... and the experience of years entertaining ... in California with Tim Hardin and in Greenwich Village with John Sebastian and at the Cafe Au Go Go with Lenny Bruce and in Canada with Ravi Shankar ... the fire of the songwriter in his early twenties ... the charisma of the man who controls his future ... In a lesser artist, these First Impressions would be laurels to rest on. (Liner notes)

This is my second Message album, and even though it is a bit less progressive than "The Dawn Anew Is Coming", it is nonetheless an amazing album. Might not be a masterpiece, but it is damn close to being one. A shame these guys did not get the recognition they deserved at that time.

Excellent first album by this great but still unknown folk singer-songwriter !!!

Dubbed "the best kept secret in the music business" by the late rock musician Bill Graham, Shawn Phillips' music is as wide as his more-than-4-octave vocal range. Praised for his unusual musical stylings and full use of the English language, Phillips defies all conventions of popular music. He has composed some of the most intense and thought-provoking music in the business, yet has achieved only a small, but devoted following, and yet, remains devoted to composing, no matter how few hear his wonderful music. Shawn Phillips was born 3 February 1943 in Fort Worth, Texas, the son of spy novelist/poet James Atlee Phillips.His first introduction to music was sitting under the piano while his mother played "Malaguena". He first picked up the guitar at the age of 7. He and his family traveled all around the world living in many varied places, such as Tahiti, and Shawn absorbed the music of wherever he was. He moved back to Texas in his teens, briefly joined the Navy at the age of 16, moved back to Texas and then to California in the early 1960s, immersing himself in the folk music scene. He recorded his first 2 albums for Columbia records, 1965's "I'm A Loner" and 1966's "Shawn". Looking for a change, he moved to England and met folk musician Donovan Leitch and wrote music with him.

For those of you familiar with Shawn's more popular albums beware: this is strictly an acoustic album that included only three original compositions ! That said, it is an excellent collection of folk songs done by a talented musician and an excellent singer performed without any other accompaniments.

Monday, 16 June 2008

Since 1993, the Dutch alternative rockband Poetica in Silentio combines heavy guitars, vocal harmonies and a tight rhythm-section with violin, flute and samples to create their own, unique sound.This is their third CD and also their second full length release.They are a real DIY band, they wrote, played, recorded, produced, mixed and released the album. But the result is brilliant.It’s a great album. Although you can refer to a lot of other bands from the past, it also has a touch of originality. Let’s start with the lead vocals. He has a voice that sounds like the singer of Crash Test Dummies or Sylvan. But the way he sings, sometimes in a narrative way, is more the Peter Hammill style. In some songs, he puts a lot of energy in his vocals and in others he uses it in a quiet way. Helped by the other musicians – almost all of them have vocals behind their names in the credits – it has become a very vocal album, without discriminating the music.The flute of Daan gives the first song a very Ian Anderson feeling. In other songs, he plays the flute in a less Anderson way. The violin of Christine has been put a little bit out of pitch, to give it that special sound.The music of Poetica In Silentio is sometimes complex, maybe a bit like King Crimson, and sometimes very melodic. My favourites are “Behind The Door” and “Beggars Banquet”."The Dance" is the longest track and the Peter Hammill feeling pops up again, so the link to Van der Graaf Generator isn’t far away.Because of the variation, it’s hard to describe the music from this album.

You can hear it here : http://www.megaupload.com/fr/?d=VPQZ6RSZI've ripped my CDR copy for you. So, sadly, no covers available !I like this CD a lot, and as usual, with a complex album, it gets better every time you listen to it.It's a very good follow-up after "Who Rolls The Dice" !!!Highly recommended !!!

Sunday, 15 June 2008

Cosmic Trip Machine, named in tribute to 60’s and 70’s records, started by recording one album, shortly after Will and Majnun first group split (with angry quarrels and strong divergence in opinion). The two friends collected materials for an opus called Lord Space Devil : unreleased songs, instrumentals, experimental and conceptual ideas. In studio, Cosmic Trip Machine discovered musical freedom and were addicted immediately. The result is Lord Space Devil, an experimental psychedelic folk album with songs that release themselves of any constraints and explore differing sonic boundaries (odd instruments, studio effects, imaginative rock inspired by indian music and B-movies). The result can be downloaded free on band's website. Cosmic Trip Machine is a moving entity, constantly evolving, searching for musicians to play live with.

Another band called Euphoria, this time from Milwaukee, Wisconsin. This is a heavy rock album with lots of fine guitar work, particularly on the title track, Lost In Trance, the most psychedelic cut, and Enchanted. All the songs on the album were written by lead guitarist D. Walloch.This rare album is worth seeking out.Heavy psych with somewhat biker vibe, raging agressive Fuzz-guitar leads with great echoey-reverb effects ,true sledgehammer bass ,crunching drums ,very melodic tunefull vocals.A Must for all 70's heavy psych enthusiasts.

Tracklist :01. Brotherhood02. Just for a Moment03. Lost in Trance04. Oriental News05. Enchanted06. Middle Asian Lament

Thursday, 12 June 2008

Taken from "hippy-djkit.blogspot.com", nothing more to say !Damon is the artistic name of David Del Conte, a genius American gypsy musician who is responsible for one the rarest and most sought-after psychedelic album of all time. Based in Los Angeles, David Del Conte and Charlie Carey had already pursued careers in popular music for many years before deciding to embrace the underground rock movement. His debut album, Song of a Gypsy, which was originally released in 1969, has a totally unique sound, with the 'crooner-like' voice of Damon, the omnipresent melodic fuzz guitar of Charlie Carey and truly atmospheric melodies. Amazing druggy fuzzed out psychedelic album with exotic atmosphere, eclectic percussion and trippy songs.

Track Listing :01. Song of a Gypsy02. Poor Poor Genie03. Don't You Feel Me04. Did You Ever05. Funky Funky Blues06. Do You07. The Night08. I Feel Your Love09. Birds Fly So High10. The Road of Life

This first album from “Biglietto Per L' Inferno” should please the Jethro Tull fans. Especially if, like me, you are keen on their harder side. Because this album is a well balanced mix between true and beautiful Italian prog and some hard-rocking scents.Biglietto Per L’Inferno came from Lecco Italy in the early 70s and are most known for this collection on the heavier side of Italian prog. They employed dual keyboards here along with acoustic and electric guitars, flute, bass, drums and vocals with an Ian Gillan edge. While I don’t speak Italian I have read repeatedly that the lyrics on this album are impressive. Many people consider this one of the very best Italian titles.The sound quality is often savaged by reviewers and while it is poor by today’s standard it is certainly listenable. I’ve heard much worse.If you love Italian prog don’t let the sound quality criticism stop you if the album sounds to your taste.

When Eric Andersen's debut album "Today is the Highway" was released in 1965, the notion of a folksinger writing his own songs was still new, inaugurated by Bob Dylan and adopted by only a small handful of others. Andersen was among the first crop of post-Dylan singer-songwriters on the '60s folk scene, and Dylan's influence can be heard strongly on this recording, which features only Andersen's voice and acoustic guitar.Except for a cover of the blues standard "Baby Please Don't Go" that shows another aspect of Andersen's roots, all the songs are original. Most of them are very much after the style of traditional folk material, as the poetic ballad style that was to become an Andersen signature had yet to fully develop. Nevertheless, even at this early stage, Andersen's lyrical poise and his gentle, nuanced vocal style make listening to these elegantly simple songs a pleasure.

Wednesday, 11 June 2008

Second album by PFM. This one is maybe slightly better than their first in terms of production. The music is also more complex but as always with incredible playing. These musicians are really awesome. Just listen to the introduction of the first track. I think this is the best sound you can get out of a mellotron... this is pure bliss !

Great dreamy acid folky psych LP released in limited 300 copies circulation in 1985 although it was recorded in 1975.Great LP utilizing a plethora of intruments including String Bass, Nylon String Guitar, Indian Bells, Hand Percussion, Noseflute and Harmonica with deep vibe.Similar to Arthur Lee Harper, Bobb Trimble, Bill Clint, and the likes ....

Tuesday, 10 June 2008

Hard to believe that with such a name, this would be a Dutch group, but such is the case. This quintet (created in the early 90’s) is from the Utrecht province (the city of Amersfoort) and somehow does not sound like their compatriots, which often seem to develop a sort of neo-prog. POETICA IN SILENTIO is rather difficult to describe and if they have clear symphonic influences, they are also delving sometimes in sombre Avant-Prog territories with Cynthia Prummel’s violin. Having recorded their first album as far back as 96, they only got around to release it as a Cd in mid-2000 when they participated to Prog-Resiste Convention in Verviers (Belgium). By that time they had also released another EP, called Who Rolls The Dice, and since then have again released another album called What Do Fish Know? Unfortunately their albums are hard to come by since they are self-produced and the band seems to remain unknown to most even in the homeland. (taken from Progarchives)

Who Rolls The Dice, this "EP" was produced and released at the same time as their debut album, just at the time when it seemed the group was about to breakthrough with a bunch of concerts in Belgium and neighbouring countries. This album is rather funny in its conception being completely transparent (no covers), with a few dice rolling around in the jewel case and overall a renewing kind of packaging, and was only available as a Cd-r back then. While only 31 minute long, this "EP "repeats the superb impressions that comes with the debut album.Only five tracks ( + a sixth one who remained unnamed), but well in the same genre than their debut, but with an added keyboardist, making them a sextet when they tried to breakthrough. So in principle the difference between the debut and this Ep would be keyboards (there were none in the debut), but it could fool me for they do not alter the sound any, if at all. Yes, they (kb) make the occasional appearance in the track "Who Calls The Name".If anything the Crimson influences are slightly more enhanced (especially in Illusion) and the Burma Shave a bit less pronounced. Clearly the highlight in this record is the almost 9- min epic Bending The Horizon, where they take the time to expand and take dramatic meanders (guitars are wailing) while the singer clearly looks at Lake’s more solemn moments, but nothing scandalous. This track is probably the “epic-est” of the group.While it is difficult to choose this EP over the debut album, it is slightly more professional (songwriting makes more sense) and certainly represents the group at its prime.(Review by "Sean Trane" Hugues Chantraine - Special Collaborator Prog-Folk Specialist - Progarchives)

This is good instrumental rock with a nod to Anekdoten, but lighter, and King Crimson. Quite a lot of tension in the music and the additions on violin are tasteful and lend some extra atmosphere to the music. The music comes and goes in waves with fast paced parts alternating with moody introspective passages. Quite late in the track the vocal parts start. These vocals have something typically Dutch, reminding me of the vocals of bands such as Supersister. Musically there are also some aspects of Hoyry-Kone here, but the (now former) vocalist of the Finnish Topi is a much better performer and singer. Who Calls The Names is the second track and it opens subtly and darkly. The vocals sound quite intimate here while the music builds up. Then the music gets a little bit more pace with the bass player setting it and I hear some faint, but explicit, echoes of Genesis. The song stays in the KC/Anekdoten vein though, with some playful percussion. Then the song changes mood again with the organ coming in. King Crimson in its eighties incarnation returns in the playful Illusion. The guitar sound especially reminds of Fripp here. Bending The Horizon is a great one with some great guitar guitar work and the spirit of Hoyry-Kone firmly present. Highly melodic, great tension building. In some places the vocalist keeps back too much, I prefer him to sing his heart out a bit more. The closer of this mini album is the moody Laughter Cries which is a bit in the old Hammill style. The chorus is very good. (http://people.cs.uu.nl/jur/reviews/whorollsthedice.html)

Friday, 6 June 2008

QUELLA VECCHIA LOCANDA is a great Italian prog band of the historic scene, formed in Rome in the early seventies. QVL plays a complex music with a lot of instrumental combinations, beautiful melodies and a very high sophistication. Close to King Crimson.QVL released two albums which are both considered essential releases from that particular scene. The first album is still regarded as a classic in its field, with an original fusion of classical influences and the use of flute and electric violin in evidence.

This excellent debut album has a strong PFM-like attitude with loads of violin and classical themes. Songs are delicate and exceptionally well performed with warm precision. Imagine great 70's sounding keyboard work layered with flute, violin and great guitar work and you have got QVL. This album has many standout tracks which combine the classical underground 70's Italian sound with a solid blend of tranquility and beauty. Vocals are very expressive and are full of harmonic textures.

Museo Rosenbach's debut album is a perfect gem for Prog lovers. This shows an italian version that crosses over of King Crimson's first album meets Genesis Nursery Cryme in a dramatic way. You have the 20-minute epic that will send Edgar Allen Poe to write a musical version with Nietzche of House On Haunted Hill with mellotrons that turned evil, Black Sabbath influential guitar sounds mixed with a snarling drum introduction and a Hammond Organ from hell.

Highly, highly and highly recommended! Most of the Italian progressive is fine and beautiful, but this album is the highest point. Lots of keyboards driven heavy (but melodic) music, there's no any weak second all over the stuff. A party for Mellotron and vintage sounds lovers. Beyond Italian scene, "Zarathustra" is one of the best albums ever made. More than essential!

MUSEO ROSENBACH's "Zarathustra" is without a question one of my all time fav prog albums.

Prog rock has perhaps more 'lost treasures' than any other genre in rock. By and large, this seems to have been due to slightly over zealous record labels that emerged at a rate of knots to try and catch the 'progressive' zeitgeist at the time. Hundreds of bands were signed to labels like RCA Neon, Deram, Dawn and Harvest, but most of them crashed and burned, hardly remembered. Many don't seem to have been given a fair crack of the whip, as these bands seem to have done one album before being dropped. T2 are one of these bands, despite some underpromoted comebacks over the years. Naturally, 'It'll All Work Out In Boomland', their only album from the time, now commands vast amounts on the 2nd hand vinyl market, but to these ears stands out as one of THE genuinely progressive rock albums as it sounds totally unlike any other band out there at the time, but also none since.This is a classic album. A true must-have LP.

This album is an excellent LP of a fine band that played progressive rock in the Early 70’s. The second LP was in progress when the group disbanded and was released recently, but it is a not complete work.The technical capability of the musicians (the music was recorded “live” in studio with the only overdubbing of the guitars) and the sound characterized by the omnipresence of a mellotron create a little masterpiece of the genre.

I don't know why I love this album so much. No flute, no sax, no violin, nothing special to catch my ears. Except mellotron all over the way. But all the elements add up to a very great result. It's really one of my top favourite records. I don't understand why such a gem stayed so long in the dark.Link : http://rapidshare.com/files/9686502/spring_-_spring.rar

Ultimate Spinach's second album is a slightly more subdued continuation of the derivative psychedelia in their debut. Again, it's like a hack take on West Coast groups. There's Country Joe & the Fish in Ian Bruce-Douglas' electric keyboards (which don't play anything as good as his solos on "Sacrifice of the Moon" from the first album); Jefferson Airplane-like female vocals (by guest singer Carol Lee Britt) and songwriting on "Where You're At"; some Quicksilver Messenger Service-type guitar arrangements on "Mind Flowers"; a melody and vocal reminiscent of Kaleidoscope's "Keep Your Mind Open" on "Fragmentary March of Green"; and more. Songwriter Bruce-Douglas' lyrics are unintentional hippie parodies without any irony or humor, whether solemnly aspiring to a beatnik state ("take a trip to the center of your mind") or indicting the straight world ("he has an ulcer in his brain, from thinking of how to divorce his wife"). When the album turns to social critiques, it's uncertain whether the band is trying to mimic the Mothers of Invention without the wit, or whether they're unwittingly embodying the very kinds of groups whom the Mothers took the piss out of on "We're Only in It for the Money". [Richie Unterberger/AMG]

Tracks :1. Gilded Lamp Of The Cosmos2. Visions Of Your Reality3. Jazz Thing4. Mind Flowers5. Where You'Re At6. Suite:Genisis Of Beauty7. Fifth Horseman Of The Apocalypse8. Fragmentary March Of Green

Wednesday, 4 June 2008

Ultimate Spinach was a psychedelic/ hard rock/ blues band originally from Boston. In their '60's heyday they specialized in lengthy songs such as "Ballad of the Hip Death Goddess", from Ultimate Spinach (1968) and "Genesis of Beauty", from Behold And See (1968).The Ultimate Spinach, comprised of keyboardist/guitarist Ian Bruce-Douglas and singer Barbara Hudson was a band of Boston's alternative scene in the second half of the 1960s. The phenomenon of a "Boston Sound" was more a publicity stunt than a legitimate artistic movement, and the Bruce-Douglas version of the band tends to be remembered for its name. The music is largely forgotten. On Ultimate Spinach (MGM, 1968) the standout cuts are the suite "Ballad of the Hip Death Goddess", with an instrumental interval for theremin (an early electronic instrument), feedback and reverberation, and the psychoanalytic folk-blues "Ego Trip".

When Siddhartha originally recorded their only album in 1975, no label would commit to the uncompromising weirdness of the music from these art rockers. Weltschmerz starts off with "Looking in the Past," a track that goes from brash proto-new wave with female vocals, to laid-back psychedelic guitar rock, to hyper, keyboard-driven prog, and then into strange space rock territory with a chorus and finally back to the driving proto-punk. Siddhartha doesn't try to fit any niche too comfortably -- Pink Floyd-ian space rock, to Emerson-like symph-rock keyboard workouts, to psychedelic guitar solos, to haunting violin over a lush keyboard bed, to cosmic folk with acoustic guitar and flute. Siddhartha works against predictability as they pull one musical rabbit after another out of their hat, with strange song structures in between long instrumental passages of melodic beauty. Siddhartha is a difficult group to pigeonhole, if you are so inclined; however, for those who don't like their music pigeonholed, Weltschmerz is a wonderful treat.

Lang'syne appear to be another one-album wonder as they released an amazing self titled folk album in 1976. Lang'syne sing in English and their brand of folk bares little resemblance to the earlier kraut-folk bands like Broselmaschine, Emtidi, Holderlin, and Witthuser & Westrupp. Throughout the album, there are small touches of a German and Eastern ethnic feel to the music, but for the most part their sound is a bit more Anglo influenced. Many of the lyrics and much of the music appear to have a dark, longing quality which results in the album sounding a bit mystical, and occasionally even Renaissance-style.The standout track is the instrumental 'Cynghanedd'. 'Cynghanedd' begins like an Eastern-influenced ballad, or "Melodie der Natur" as described in the CD sleeve. This track utilizes natural sound of birds and insects and ends with an interesting interplay of 'dueling'-guitar chord sequences. Another track worth mentioning is 'Medina' which has sporadic touches of Witthuser and Westrupp sprinkled throughout.

Very great Progressive Rock from Austria with hints of jazz in parts. The album has some beautiful guitar works and has a passionate sound and is full of feeling throughout, there is some great flutes and sax on the album and the result of this is fantastic.
( Comments from http://krishnasgoldendopeshop.blogspot.com/ )

Tuesday, 3 June 2008

Ultra-rare U.S. psych/folk album originally from 1970.Here In The Land Of Victory is a very good folk psych album, Holman has a mid-range quavery voice, and the songs are all very fragile, floating acoustic type of songs, with sitar, tablas and other exotic instrumentation scattered liberally throughout.The album cover is a very psychedelic montage featuring Holman super-imposed over scenes of down and out street people.Holman also wrote Bizarrek Kind covered by Vision Of Sunshine.

Anglagard were a short-lived band who nonetheless generated critical acclaim and a loyal following in the early nineties with their brooding mellotron and synth heavy sound that also featured virtuoso percussionist Mattias Olsson and classically trained flautist Anna Holmgren.
The band formed in the summer of 1991 by guitarist and lead vocalist Tord Lindman and bassist Johan Hogberg. The pair placed ads to form a band in the vein of the seventies progressive bands such as Yes and King Crimson, which were successfully answered by keyboardist Thomas Johnson and guitarist Jonas Engdegard. Drummer Olsson and flautist Holmgren were soon added and by the following spring the band were touring and logging studio sessions.
Anglagard means "Garden of Angels" and never a name of a band has been so perfectly chosen, their music is almost celestial, even when they belong to the 90's the members avoid the use of instruments that weren't used in the 70's by their predecessors. Plethoric of magnificent keyboards and mellotrons, is hard not to place Anglagard albums in the same section of the old dinosaurs. Anglagard manage to walk that fine line in drawing inspiration from the seventies without ever being derivative. There are definitely passages reminiscent of early Genesis, VDGG or King Crimson, but these are superficial, and for the most part Anglagard pursue their own formula. The sound is brooding, with dissonance being a regular feature. The music still manages to captivate the listener, and some sections are nothing short of magnificent.
Only 4 songs in total, each song is lengthy, every song goes thru many changes in tempo, volume and mood -- many times within one minute and without sounding like it's straying, but adding and building. What's also interesting is that there isn't any one keyboard song or guitar song. All songs get an even amount of keys, guitar, guitar-guitar interplay, keys-guitar interplay. There are vocals, in Swedish, but of a short duration of only a minute in each song. One song is instrumental. After 44 minutes, you'll still want more.

Monday, 2 June 2008

TRIANA is the most legendary and pivotal progressive rock band in Spain. Their stunning debut-album “El Patio” (1975) was a seminal blend of flamenco and prog rock and paved the way to flamenco-inspired prog rock in Spain, culminating in bands like AZAHAR, CAI, ALAMEDA, QUALDAQUIVIR, MEZQUITA and MEDINA AZAHARA.The opener on “El Patio” is “Abre La Puerta” (almost 10 minutes), it starts with choir-Mellotron, piano and flamenco guitar (tremolo-technique). Then the typical sensitive and skill full flamenco guitar blends with piano and soft synthesizer chords. A fluent and tight rhythm-section carries the music to a powerful acceleration with the typical flamenco vocals, expressive and a bit wailing. The rest of this song contains lots of shifting moods that range from mellow with flamenco guitar and choir-Mellotron to propulsive with powerful drums and howling electric guitar, very moving. Most of the other six compositions are in the vein of “Abre La Puerta”: beautiful shifting climates with typical flamenco elements like palmas (handclapping), rasgueado (quick downward strikes across all strings) and picados (quick runs on the guitar with two fingers), along with tasteful keyboards (organ, synthesizers, Mellotron and piano) and fine electric guitar play. The final two tracks are splendid compositions: beautiful interplay between the flamenco – and electric guitar and a bombastic finale with rasgueado, organ and electric guitar in “En El Lago” and powerful drums and a howling and biting electric guitar in “Recuerdos De Una Noche”. If you are up to the typical flamenco mood or you want to discover this perfect marriage of folk and sympho, try this album. For me it’s one of the few CD’s that can compete with the Seventies prog rock from YES, ELP, KING CRIMSON and GENESIS!

Musically, Gringo work as a compact and tightly integrated unit. They write and arrange all their own material, each of them freely contributing ideas. Their songs are strongly melodic, with powerful, precise backing, and they make extensive use of swelling three part and four part harmonies and striking time changes, all three instrumentalists also sing solo.

Tracklist :1. Cry The Beloved Country (5:54)2. I’m Another Man (4:15)3. More And More (4:41)4. Our Time Is Our Time (5:03)5. Gently Step Through The Stream (3:54)6. Emma And Harry (3:54)7. Moonstone (4:37)8. Land Of Who Knows Where (4:05)9. Patriotic Song (5:11)Bonus Tracks :10. I’m Another Man [single version] (3:36)11. Soft Mud [single B-side] (3:16)Total Time: 48:26

Fondly remembered, if only by a select few, String Driven Thing were Scottish progressive rockers whose appeal rested largely on the scrapings of their classically trained violinist, Grahame Smith (who joines later VDGG). Nothing jaunty or celtic, mind, his style was almost Mogadon morose. With leader Chris Adams supplying the suitably dark and troubled musings, their crowning moment came in 1973 with "The Machine that Cried". Charisma, their label at the time, considered it a little too grim for public consumption and forced a few key changes. This, though, is the band's own restored version and a fine, creepy period piece it is too, never more so than on Heartfeeder and the epic, if flawed, River of Sleep, which was cut to ribbons first time around.

Track Listing :1. Heartfeeder (6:39)2. To See You (3:58)3. Night Club (5:05)4. Sold Down The River (4:29)5. Two Timin' Rama (3:10)6. Travelling (2:55)7. People On The Street (6:03)8. The House (2:37)9. The Machine That Cried (5:19)10. River Of Sleep (11:11)

Mushroom is an Irish group who formed in Dublin in 1972.Their only release, Early One Morning, is a blend of progressivism and Irish folk music.This album is a truly brilliant piece of musical excellence. The traditional aspect of their music is mixed with undoubted rock influences.Some classic tunes include Liathdan (along with it's counterpart Crying), and the second side of this disc is almost all memorable rock riffs mixed with fantastic flute reels and minor chordage, such as Standing Alone, Johnny The Jumper, Potters Wheel & King Of Alba.

Singer/songwriter Arthur Lee Harper billed himself simply as Arthur (no last name) on his first album, 1968's Dreams and Images, and then as Arthur Lee Harper on his second and last, 1969's Love Is the Revolution. It's the same guy who did both records, and he most assuredly has no connection with the famous Arthur Lee who led the group Love.Arthur, or Arthur Lee Harper, was as mild-mannered a folk-rock singer/songwriter as there was in the late '60s, singing sad songs that emanated fearful uncertainty, as well as slight airs of self-pity and disengagement.

Nothing is known about this excellent late sixties band.Early Morning Rising, Slave Ship, House Of Rooms and Gray Picnic are all loaded with nice guitar and organ, even frantic (if somewhat inept) drumming on occasion. The tracks have an atmospheric, open quality and the recording is superb.This is a lost gem !!!

This legendary US '60s psych monster that under the right influences will destroy your head!

This quartet from Detroit (1970) created one of the most wanted artefacts in the psychedelic collectors scene. The music was recorded in 1970. With an average age of 17 those "teenage Sivas" showed best quality in songwriting playing their instruments and creating an own sound.

Great private almost unknown heavy stoned psych LP. Excellent dark mystical atmosphere mixed with an outlaw biker's feeling and a voice reminding very much characteristic Jim Morrison's voice (like in Phantom's Divine Comedy same title LP from1974).
Several sources claim that it was recorded in 1971, but not released until 1980.
Excellent and hard to find psych album. !!! RECOMMENDED !!!

Sunday, 1 June 2008

Singer, songwriter, and guitarist John Parker Compton co-founded the acoustic band Appaloosa with violinist Robin Batteau in the late '60s. Both musicians had been heavily influenced by the folk scene in their hometown, Cambridge, MA. Compton got his start singing in a Cambridge church choir before he and Batteau began playing the coffeehouse circuit together. As the 1972 press release for Compton's solo album, To Luna, told it, he showed up at producer Al Kooper's Columbia Records office in late 1968, hoping to show him his songs. Uninterested, Kooper told the kid (Compton was 18) to come back some other time. But a little while later, Kooper came in on Compton and Batteau performing for the office secretaries. Finally won over, Kooper recorded their demo, and within a year the newly signed musicians had released an album, the self-titled debut from their group Appaloosa. Also including bassist David Reiser and cellist Eugene Rosov, Appaloosa was joined in the studios by members of Blood, Sweat & Tears and by Kooper himself.

This legendary band known as The Fallen Angels, formed in 1965, were a dynamo of musical creativity and stage theatrics. They had an amazing ability to synthesize diverse musical styles (i.e., Beatles, Dylan, jazz, classical, etc.) into a cohesive sound that was distinctly their own. And as anyone who ever saw them perform live can attest, their grip on an audience was nothing short of charismatic. Excellent musicians all, the band members were ravenous mimics with a penchant for political satire.

One of the ultimate examples of the East Coast psych sound; moody, intricate, with a peculiar intensity. A long time favorite of late 60s collectors and no wonder as it has the makings of a masterpiece. Hard to pinpoint really, but some parts are like a high-brow Common People, others like a folkrock Mandrake Memorial. Arrangements and songwriting are most impressive, with "A Horn Playing On My Thin Wall" being a personal favorite. Often compared to the equally rare Morning Dew LP but this is deeper and more original.